Modal Quick Dive – ARGON8 Firmware v3 video upload by Modal Electronics
ARGON8 – Factory Bank v3 Patches
"Completing the ARGON8 v3 Firmware Update, the new factory Patch Preset Sounds take huge advantage of the new Vintage and Oscillator Freerun features, the new filters and the exciting new Effects algorithms."
And the press release:
Modal Electronics ARGON8 Firmware v3 supercharges popular Wavetable Synthesisers
– Empowering music producers, musicians and sound designers' creativity with four new filter types, 15 brand new effects and a wealth of workflow enhancements and improvements –
Bristol, UK - 9 September 2022. Modal Electronics, a leading global synthesiser manufacturer, has just released an all-new firmware update for their critically-acclaimed feature-packed ARGON-Series synthesisers. Never content with a static approach to product development, ARGON-Series firmware v3 redefines the sound and functionality of Modal Electronics’ advanced Wavetable synths and adds a raft of new forward-thinking features that guarantee to supercharge users’ creative output like never before.
New in Firmware v3 The brand-new Vintage parameter helps to alter the organic fabric of the wavetable textures by emulating the behaviour of vintage synths’ technical imperfections, where certain tuning and other variations were introduced into the sound generation. Oscillator Free Run is another new feature known from analogue synthesisers and, when activated, adds to the sonic flexibility of ARGON8. ‘Classic’ Synth sounds are so much more alive with the vintage and free run parameters ensuring every key press is slightly different than the one before.
Firmware v3 adds four new filter types, incl. 4-Pole Ladder Filter, a 1-Pole Ladder Hybrid, a resonant Phaser Ladder Filter and a new 2-Pole Sallen-Key Filter. All new filters come with Pre-Filter drive, and the integrated polesweeping allows seamless morphing through the audio spectrum. The Ladder filter unlocks even more classic synth tones as well as expanding ARGONs experimental capabilities with the more complex filter outputs and the Sallen-Key filter brings a whole new level and character to gnarly, driven sounds, especially when paired with the Drive FX.
Additionally, ARGON8 Firmware v3 includes 15 new powerful effects. Harnessing our flexible processing distribution system, some of the new additions harnessing the power of two effects slots for more sonic power and depth. The V2 Reverb is great for adding a little bit of space to a sound, huge near-infinite reverbs and everything in-between. The new Chorus v2 was brought from our successful COBALT5S and COBALT8 synths and injects vintage Chorus tones to ARGON8. Creative sound gourmets will also enjoy the new Phaser v2, Compressor, Three-Band EQ, Unisoniser, Utility and additional Drive effects, giving enough options to give custom patch creations a final, production-ready touch
With the new firmware, the programmable Arpeggiator receives new Arp Directions to inspire musicians and producers. Firmware v3 also improves the capabilities of the OLED display, the Audio In quality, the gain staging of the audio output and much more. For a full list of new Features and Improvements, we recommend the Release Notes, available on the product’s web page.
Finally, Firmware v3 launches with the addition of a dedicated new bank of 100 new factory presets to showcase Firmware v3 in action.
Firmware v3 is available as a free update via our MODALapp software.
"What day is it, yep its 909 day! Another year has passed and the 909 has sequenced around the sun one more. We give thanks to the church of Roland for giving us this holy day and the TR-909.
May the beige banger provide you with good techno for another year.
Whilst I still have your attention, are you interested in learning more about making and performing improvised techno with hardware, modular synths and everything in-between? Perhaps you've already bought a heap of gear and need help making sense of it all. I'm now offering 1-on-1 personalised tuition. If you'd like to know more please email with some brief details of what you'd like assistance with to coachedbyhoneysmack@gmail.com 🤓
Audio mixed live through a Playdifferently Model1 DJ mixer and Elektron Analog Heat (off camera) giving it a little more ooomph."
"For years I've been stacking multiple outputs to inputs and have clearly dodged the bullet. There can be times where is works especially if the combined voltage is 10v or less, anything more and there is the potential for disaster :-) So...I just wanted to fess up and set the record straight. Best practices is to combine CV via CV processors, i.e. 254, 256 or 257."
"TRINITY is a 3 channel Digital Drum Synth Array packed into a 20hp eurorack synthesizer. Effectively, Trinity performs as 3 powerful drum voices packaged into one beastly drum module with a few tricks up its sleeve.
The name Trinity refers to the 3 drum channels and tips its hat to the core elements of any modern beat driven composition which is typically Kick, Snare and Hat. Trinity takes this simple idea and flips it on its head with 3 channels and an array of drum synth algorithms that use various types of synthesis (Subtractive, Additive, FM & Noise) allowing for a wide array of drum design capability that achieves and reaches far beyond the conventional."
Modbap Trinity Introduction
Press release follows:
Modbap Modular expands Eurorack module lineup with Trinity debuting as a DIGITAL DRUM SYNTH ARRAY at Knobcon Number Ten
LOS ANGELES, CA, USA: black-owned Eurorack modular synthesis and electronic musical instrument manufacturer Modbap Modular is proud to debut Trinity — the fourth entry in its expanding Eurorack product lineup as a three-channel DIGITAL DRUM SYNTH ARRAY, as the appropriate wording on the distinctive-looking, triple-colour-highlighted-branded front panel in reference to effectively performing as three powerful drum voices packed into a 20HP module with a tip of the proverbial (electronic hi-) hat to the typical (kick, snare, and hi-hat) core elements of any modern beat-driven composition subtly suggests, albeit with some neat production tricks thrown into the musical mix — at Knobcon Number Ten, a one-of-a-kind synthesizer convention now in its tenth year, held just outside of Chicago, IL, USA, at the Hyatt Regency Schaumburg, September 9-11…
“Trinity has evolved over time to become what it is today.” Modbap Modular founder/owner/designer Corry Banks is perfectly positioned to introduce Trinity to the musical masses, historically highlighting its interesting journey getting there thusly: “I wanted a drum module that would allow me to have a simple-yet-smacking kick, snare, and hi-hat in one module. I also wanted to play outside of that simplicity with malleable percussion synthesis. Trinity had to have a degree of hands-on control, together with a good deal of CV and/or MIDI control. I get into sound design, too, so Trinity had to serve me well in that area, and it does not disappoint. Trinity is all of that, while finding a way to introduce a few interesting and fun quirks as well.”
With that being said, Trinity takes the simple idea of tipping the proverbial (electronic hi-) hat to the typical (kick, snare, and hi-hat) core elements of any modern beat-driven composition and flipping that on its head by combining its three channels with an array of drum synth algorithms that use various synthesis types — namely, BLOCK (analogue-inspired drum synth building blocks featuring a sine and triangle core; great for traditional electronic drum creation), HEAP (additive drum synth with 12 partials; great for fun, natural sounds and pitched, percussive sounds), NEON (FM drum synth engine; great for high-quality FM drums, clangorous metallic percussion, and more), and ARCADE (quirky noise generator synth, reminiscent of classic Eighties-era arcade games with zaps, crashes, explosions, and more; great for claps, hi-hats, and even some vinyl noise approximations, as well as all sorts of fun percussion and degraded noises) — to allow for a wide variety of drum design capability that achieves and reaches far beyond the conventional. Clearly living up to its front panel-positioned DIGITAL DRUM SYNTH ARRAY wording, which immediately steers its users into a certain way of thinking, Trinity’s array of digital drum synth algorithms are very malleable, thanks to the seven sizeable knobs and four mini-pots positioned in the upper half of that distinctive-looking, triple-colour-highlighted-branded front panel. Put it this way: each control a specific parameter and characteristic — PITCH, SWEEP, TIME, SHAPE, GRIT, DECAY, EQ, CLIPPER, HOLD, VOL (volume), and, of course, CHARACTER — for each drum voice. The three — DRUM CV1, DRUM CV2, and DRUM CV3 — channels each have their own TRIG (trigger) and V/OCT (one-volt-per-octave) inputs in addition to extensive CV input options, all available for front panel-positioned patching purposes.
Trinity takes its capabilities several steps above and beyond anything comparable in the modular Eurorack world with cyclical (C. MODE) options offering round robin and random playback, as well as two STACK modes. Musically, round robin cycles through the drum algorithm types one after another with each trigger, while random randomises the parameters of a channel’s chosen drum algorithm type with each trigger. Those STACK modes are inspired by the characteristics of chopped breaks where drums tend to overlap and fan out, depending on the content of the chopped source material. Trinity’s take on that allows the second and third drum channels to be triggered by the primary channel’s TRIG and V/OCT inputs; in addition, ‘secondary’ STACK SPREAD functionality allows for fanning out the stacked drums to taste.
Trinity’s uniquely performable and switchable OUTPUT matrix allows for the routing of each drum channel’s output to the MIX output, the individual — DRUM1, DRUM2, and DRUM3 — output, or ALL. As such, easy performability, mutability, parallel processing, or side chaining are all perfectly possible.
Thereafter, Trinity’s USB MIDI connection allows for MIDI control over various parameters via one USB cable. Clearly, USB MIDI makes instant integration a cinch by simply connecting one USB cable from Trinity to a groove-box or computer.
All in all, then, Trinity packs a hefty percussive punch, weighing in at a 20HP width with 11 knobs, three drum channels, three trigger buttons, four drum algorithms based on four different synthesis types, 24 CV inputs, three-output switching with three individual outputs, a mix output, and MIDI-over-USB connection belying its 26mm depth. Concludes Corry Banks: “I think we’ve achieved a good deal more than we even initially set out to do with Trinity.” That’s really saying something — all the more so since the truly talented individual concerned holds an Associate’s Degree in Electronics, a Bachelor’s Degree in Technology Management, and a Master’s Degree in Project Management! After all, Trinity truly is a percussive powerhouse of synthesis — so much more than a simple-yet-smacking kick, snare, and hi- hat in one module, but rather a Eurorack module like no other... one which is bolstered by its inclusion of a bunch of really dope-sounding synth algorithms with which it does not disappoint.
Duly making its debut at Knobcon Number Ten, a one-of-a-kind synthesizer convention now in its tenth year, held just outside of Chicago, IL, USA, at the Hyatt Regency Schaumburg, September 9-11, anyone wishing to see (and hear) Trinity in action in advance of shipping should seriously consider checking it out there — assuming, of course, that they are in the general vicinity or prepared to travel at short notice if not already attending.
Expected to ship in mid-October 2022, Trinity is available to preorder at an MSRP (Manufacturer’s Suggested Retail Price) of $549.00 USD via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) or directly via its dedicated webpage (which includes more in-depth information) here: https://www.modbap.com/products/trinity
Welcome to Bad Gear, the show about the world's most hated audio tools. Today we are going to talk about the Roland Boutique JX-03. Why did they emulate the Roland JX-3P, a nerdy, mostly knobless distant relative of the legendary Roland Juno-6, Juno-60 and Juno-106 and are the added knobs of the PG-200 controller an advantage over the original?
Chapters: 00:00 Intro tune 00:58 Overview Roland JX03 01:06 Presets 01:23 History of the Roland JX-3P 02:10 UI, polyphony, note stealing, patch memory 02:49 Oscillator Section, cross modulation (sync, metal, ring mod) 03:26 Filter, hi pass 03:44 Modulators (envelope, LFO) 04:22 Chorus, noise emulation, hidden chorus 04:35 Delay 04:43 Sequencer 05:11 Hidden parameters 05:20 Manual, unofficial user guide, dual voice mode, portamento 05:44 What else??? (Boutique stuff, pricing,...) 06:02 Hate 06:30 Jam 1 07:26 Jam 2 08:24 Finale 08:55 Verdict"
"More than two DX7s in one, and only a polyphonic aftertouch weighted keyboard and better display/interface short of a DX1 (OK, a few other things, but it was very much the affordable version of the Yamaha FM flagship when launched in 1985). The DX5 is surely the DX to own, if you can find a good one…
This one has come to us from the original owner. It’s used, but well cared for for sure; anyone who still has the original box for the breath controller loves their instruments!
Comes with: Two Voice ROM cartridges Performance ROM cartridge + Performance Notes BC1 Breath Controller in original pouch and packaging. Original Manual Heavy-duty pro flightcase Supplied in full working order and with warranty.
Features: Dual programmable 6-operator 32-algorithm digital FM tone generators. Independent 8-parameter envelope generator for each operator. 32-voice x 2 internal RAM memory. 64 internal RAM performance memories, each storing a combination of voice and performance functions. Dual cartridge slots for ROM cartridges containing 64 voices or user-programmable 32-voice RAM cartridges. ROM or RAM cartridges storing data for the 64 performance memory locations can also be used. Independent audio outputs for each tone generator channel. Single, Dual, and Split play modes. 76 keys with velocity and after-touch sensitivity. 32-note polyphonic output in SINGLE play mode. Sustain footswitch, portamento footswitch, volume and modulation foot controllers, and breath controller inputs. MIDI IN, OUT and THRU terminals. MIDI send and receive channels independently programmable for each tone generator channel. Condition: Excellent overall. There are some small chips to the end panels, but although it has been a working instrument, it has clearly been well cared for. Get in touch if you need more information about condition.
Voltage: Switchable voltage for use anywhere in the world."
"Also known as the Orchestrator, the Multiman S is 4 sections analog polyphonic keyboard: bass, brass, piano, string, all that can be split on both side of the keyboard with dedicated volume faders. Includes a Moog ladder filter on the brass section and a BBD TCA350 triple chorus like the Arp Eminent Solina String Ensemble.
Unit was serviced: power supply capacitors were replaced, chorus calibrated, faders cleaned and lubed and of course keyboard was tuned.
Unit is perfectly working."
"This is your chance to own this impossible to find original R.A.-Moog 1971 Synthesizer Catalog. This original R.A.-Moog catalog contains the best vintage synthesizers (RA)-Moog ever made. From the big early Moog Modulars untill the first Minimoog which was just released in 1971.
This Moog Catalog contains information and picture’s of the Moog Synthesizer 10/Ic/Ip/IIc/IIp/IIIc/IIIp ,the first Minimoog Model D and more.This catalog contains 16 pages.
This is a must-have for any vintage synthesizer/Moog collector as these are getting very hard/impossible to find these days."
"WMD Orion is an analog Phaser effect module for eurorack modular synthesizers in 4HP. It can be used in mono or as a mono to stereo effect, creating cosmic swirls of spaced out texture. An instant bypass switch allows for hands-on engaging of the sound.
The number of stages can be set by the user and the resonance, depth, rate, and frequency-center controls make for quick dialing in of the perfect effect.
In this video, we go through the features and functions while highlighting the sound by using a variety of sound sources including analog noise, oscillators, as well as chord and drum samples."
